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Andrey TARKOVSKIY—75 Metropolitan NIKOLAI. Solaris and the Evangelic Parable about Prodigal SonIn the article by Georgian metropolitan the textual and visual citations in the film are considered from the point of view of Christian ethics. Comparing the film plot, score and the parable he also considered Evangelic connotations with autobiographical motifs of Tarkovskiy. Dmitriy ZAMYATIN. Uncertainty of Existence: Images of Home and Road in The Home and road are the basic images of Tarkovskiy poetics. His film heroes are in quest for a lost home-paradise, conscious their life sense being on the road, try restore their memory about home. It is possible to follow this figurative themes in each Tarkovskiy film. By opinion of the author of the article, The Mirror is the most significant one where these images has an actualization. Dmitriy SALYNSKIY. A Memory of Composition: Second Seven and All the Rest Proportions and symmetries in Tarkovski’s films connect to constant symbolical meanings. Dmitri Salynski at first has reported about it in «Kanon of Tarkovski» (Kinovedcheskie zapiski, № 56, 2002), and now evolved this ideas according to short films, radio and theatrical works by Tarkovski. Founded regularities are actual for filming in general, this conclusion finds a confirmation in analysis of films by number of world-famous film-directors. Hans-Joahim SCHLEGEL. Reverberant Universes of Internal. Оn the Sound- musical Сonception of Andrey Tarkovskiy Music was a determinant factor in visual composition of Tarkovskiy films. Score and sounds were never used as illustrative supplements but always were in complex connexion with picture arranging audiovisual unity of filmic space. His films are works of an audiovisual music where rhythm is the main and decisive factor of sense constitution. IN THE REALM OF CULTURE Nikolai KHRENOV. Archetypes of Orthodox Messianizm in Russian cinema. A thesis on theoretic conference during The 7th Festival of Central and Eastern European cinema «goEst→» (Wiesbaden). The author reflects on archetypes of mass consciousness which is some kind of semantic background for any conception search in art. Religion images and themes were banned in Soviet period but nowadays there is no censorship and still there is no raise of religiosity in Russian film whereas it was one of the native film traits. Why is it so? TOWARDS INTERPRETATION OF THE FILM Mikhail YAMPOLSKIY. Muratova: Тhree films about Love. As the author says, he unexpectedly has written a book about Kira Muratova. The book is an attempt to describe a philosophical side of the director’s creative work and to reveal some special features of Muratova film stylistics through this philosophy. The author of the book pays less attention to the ‘film language’ than to the meaning of motifs because from his point of view the motifs also determine the structure of the ‘language’. In this part of the book the early Muratova’s films Getting to Know the Big Wide World (1978), A Long Goodbye (1971) and Brief Encounters (1967) are considered from the point of «cinematographic anthropology». PERSONALIA From the heritage of Sergei YUTKEVICH. The Staging plan of Alexander Blok’s dramas Balaganchik, Neznakomka, 1982 Sergei Yutkevich is a kind of film makers whose heritage doesn’t need to have a special reason as anniversary or something like that for to be researched.He is one of the undoubtable classic figures of Russian film. But for last twenty years after his death there are very few fundamental works about his creative activity. Maybe it is time to fill the gap as young film studier thinks. Yutkevich activity can be called a mirror of (film) art evolution during sixty years. The «mirror» of artist’s personal way is always a filmography. And the one included in this unit isn’t an exception. The stage production could be another one line in film list of Yutkevich but it hadn’t happened because of some bureaucratic obstacles. Nevertheless a reader and researcher can get to know the form that production was from staging plan preserved in Russian State Archive for Literary and Art. The production is interesting not only as the last director’s work which he sati- ated with a lot of autobiographic symbols but as a kind of post-modern musical stage play. Naum ARDASHNIKOV. Subject for a Short Story A memoir of the known cinematographer who shot Subject for a Short Story (1969) as a direc- tor of photography. Unusual visual style of the film is a merit of two directors’ imagination and Yutkevich’s conception of collage. Adventures of Soviet film crew in Paris and details of shoot- ing are written with the brilliant literary style of observant cinematographer. Sergei Yutkevich. The Full Filmography (Compiled by Artyom Sopin.) «… Till total requisition of saboteur shots». From Buiseness Letters of Glavrepertkom and Rossnabfilm, 1936–1939. (Preface and publication by Svetlana Ishevskaya and Viktoria Levitova) Information given in different catalogues of Russian cinema about reassembled versions of a film or about its editing often causes a clash to a researcher. The main questions he asks himself are who, why and what was edited. The Archives of Gosfilmofond preserve folders of almost every movie picture released in Russia, which contain a lot of documents including editorial scripts and an exhibit certification. The collection of documents printed in this issue reveals clearly a censorial mechanism in Soviet Russia of 1930es. On example of two Yutkevich films Counterplan and The Miners one can see how that mechanism worked. Besides the film story followed in documents concerns the conflict of Boris Shumyatskii and V.Kerzhentsev. CINEMA MUSEUM Grigorii ALEXANDROV. «The Little Lady of the Big park». Unrealized script. There are introduced a screenplay sketch written by Grigorii Alexandrov in 1934, in the period between Jolly Fellows and The Circus when his film aesthetics formed. This intention of the director represents the type of plot which later was called «musical comedy by Grigorii Alexan- drov» entirely. RESEARCH Elena ALEXEEVA. Formation and maturation of cinema in Kazan and Kazan government (1897–1917) A detailed history of cinema development in the Russian region. The main attention the author also pays to film theatres raising and its influence to audience reception of film. THEME FOR EXPLORATION Sergei FILIPPOV. 11 Major Events in the History of Film Technology Concerning Their Influence on Film Aesthetics (the third part).This part of the paper on technological innovations during the history of motion pictures provid- ed essential aesthetical efforts completely deals with another one complex technical problem in the history of film technology: the evolution of film stock and lenses. MARGINALIA Vladimir OGORODNIKOV. A Fantastic Thoughts («Fantastic film. Episode One: A collection of articles. М.: Novoe literaturnoe obozrenie, 2006) There are few books on Russian in which fantastic genre in film is considered theoretically. Among the first was some articles collected in book «Kinematograph» (1919), then in the 1970es book by Juri Khanyutin «A Reality of fantastic world». And now a new edition is intro- duced. A review of the book is offered to our readers.
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является незаконным.